WithLa Traviata, Verdi and Piave fashioned an opera from a play set in contemporary timesan exception in the composers long career. Michael Mayers lavish production sets the stage for the unfolding tragedy in ways that both amplify and obscure certain aspects. INTERVIEW: Fleming w/ Maestro Daniele Callegari. Well, Stephen and, and Luca, thank you so much. Their vocal approaches in this scene were also in contrast with the soprano digging into the darker edge of her sound, counterpointing his lighter color. And from there came a guttural Ah! World premiere: Teatro la Fenice, Venice, 1853. For years, the latter of these, no, non udrai rimproveri was cut because it played up the same dramatic beat of a father trying to reconcile with his son of the previous and more famed aria Di Provenza il mar, il suol. Both are gentle in their nature, even if the musical character does contrast with the latter being more of a cabaletta. NADINE SIERRA: Yeah, a lot of despair. Marie Duplessis was a courtesan. This much-loved opera is screening across the UK as part of the famed New York opera house's Met Opera: Live in HD season, which sees 10 world-class operas broadcast from New York from 2022-23. Her arias feel like life-force distilled; a strength that remains untouched as her body declines. Oct 3, 2022 0 Dislike Share Save Fathom Events 51.4K subscribers Subscribe Soprano Nadine Sierra stars as the self-sacrificing courtesan Violettaone of opera's ultimate heroinesin Michael. However, it was clear from the outset that the role of Alfredo was not an ideal fit with Jordi delivering an inconsistent turn. RENE FLEMING: Yeah, theyre amazing. Michael Mayers 2018 production has the twin virtues of being beautiful and compact. I mean, Traviata is Verdi writing for, for a Paris society scene. Please check if you entered the email address correctly. But in the same time, especially now with artists, uh, like, um, Nadine, we have, uh, the possibility to really to, to have this huge range, and not just in terms of range of the voice . The Met Live in HD Series is supported by Rolex. RENE FLEMING: So as we know, your heaviest singing is yet to come, the most dramatic part. Opposite blue was Ukrainian tenor Dmytro Popov in the role of Alfredo. Daniele Callegari, Marco Armiliato, and Nicola Luisotti conduct. Despite the seeming connection reached between their characters, with both artists wonderfully in sync, their directions, much like rigid social conventions, kept them at a rather arbitrary distance which blunted the progress they had made with each other. Her hands visibly shook during parts of Addio del passato. And throughout, she delivered more audible and intense inhales to express Violettas own physical limitations. Right, yes, true. As he begins to sing, Costello delivers a warm, ardently romantic tone that helps to generate strong chemistry with Sierra as Violetta. Metropolitan Opera 2022-23 Review: La Traviata Angel Blue shines as Violetta. Presented with three sets of lead singers in 2022-23, La Traviata clearly remains an extremely popular lynch pin of this or any season. Book now at www.theMetInAustralia.infoMet Music Director Yannick Nzet-Sguin conducts Verdi's timeless tragedy La Traviata. Nadine Sierra was a complete surprise. document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ). And then we get to Act two, where Jahos performance was further elevated. Your email address will not be published. Ne sento orrore. This latter passage was delivered at a slower tempo, but whereas most tenors emphasize the rhythmic aspects of the line, Jordis rendition had a more fluid legato that turned the passage into a full-blown lament. And yet, Jaho still had so much to give in the ensuing scene where her musical and dramatic intelligence was on full display. Not only have there been many Violettas at The Met over the years, there have also been quite a few different Traviata productions. LUCA SALSI: Thank you very much. RENE FLEMING: So Nadine, thank you so much for speaking with me. So please come to The Met or visit your local opera company. Verdi writes accents over the first two Piangi, piangi and Enkhbat delivered on them, reinstating some of that aggressiveness in the line and character, and even if his voice slimmed down a bit in ensuing passages, there was a notably powerful crescendo up to the fortissimo on coraggio e il nobile tuo cor vincer; it contrasted wonderfully, both musically and dramatically, with Jahos interpretation of this passage. Thankfully, the message was just that Nadine Sierra would sing tonight but wanted the audience to know that was experiencing seasonal allergies. Cue 4000 grateful, yet sympathetic sighs of relief. Further individual coloratura is heard in Follie! To his credit, however, he only improved throughout the night, the voice slowly burnishing with increased shine and color as we sped towards Parigi, o cara. Costellos upright and reserved physical presence was often at odds with the flightiness of Mayers blocking for the character, which sees Alfredo often cowering, crumpling, and flinging himself about like a very young man. In Acts I and II, we witnessed the tragic trajectory of Vi Violettas life as it starts to shatter. After a prolonged silence following the chorus exit, Jaho commenced those iconic words in truly hushed tones, drawing us into, for the first time, a truly intimate sphere that she would share with us for the next 10 minutes. I really tried to have a balance of both . Production a gift of The Paiko Foundation, Additional funding gifts from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex, Revival a gift of the Joseph and Robert Cornell Memorial Foundation, and Veronica Atkins, in honor of Nadine Sierra. Particularly notable was John Hancock as Baron Douphol, his tower presence and voice giving him a certain level of poise and menace despite the questionable costumes. Im now a 34 year old woman. So Donald, The Met chorus is one of the glories of the opera world, and you are one of its artistic treasures. RENE FLEMING: Nadine, that was so spectacular. MAESTRO DANIELE CALLEGARI: I know, I know. It does sit lower. RENE FLEMING: Im going to cry with you. DumassLa Dame aux Camliaswas a meditation on the authors youthful affair with the celebrated prostitute Marie Duplessis, known as a sophisticated and well-read woman whose charms and tact far surpassed her station. The tension that Enkhbat managed with these increasingly forceful deliveries propelled Jahos painful responses and, underscored by the syncopations in the violin, made this transitional passage incredibly vivid and poignant and Jahos explosive Non sapete quale affetto all the more powerful. It was not a great lady of the past a queen or a noble woman or a mythological character it was a woman of that day. Alexandre Dumas fils (182495) was the son of the author ofThe Three Musketeers. I mean, we come to work and we take part in two parties in, in one, in one opera. And OperaWire came about as a desire to take in as much of it and allow the passionate fan base access to everything this wondrous art form has to offer on a daily basis. A later performance of La Traviata will also be heard over the Toll Brothers Metropolitan Opera International Radio Network. Clearly intimately acquainted with Verdis prized score, Italian maestro Daniele Callegari leads the Metropolitan Opera Orchestra in a sensitive performance and carefully supports the lead singers in their moments of individual interpretation. This is not to say that she drops the character or story; in fact, the exact opposite is true. RENE FLEMING: I agree so much. LUCA SALSI: And, and, uh, to, you know, to Violetta. DONALD PALUMBO: Were have a final dress rehearsal of Rigoletto. This is such an exciting season for The Metropolitan Opera, with three company premieres, the most in a single season in quite some time. RENE FLEMING: Wonderful speaking with you. In the end, of course, it is Sierras night. Luca Salsi is quite capable at playing these operatic bastards, with his brash and forceful sound; his Germont is a nasty bully, but also a sly one, quickly picking up on exactly the argument he needs to make to get Violetta out of his sons life. While some of the directions worked against him, Rucinski made the very most of his time onstage and was easily the most compelling Germont that I have heard live. Buy tickets forLa Traviata live in the opera househere. It has occasionally been observed that audiences for musical theater in recent times often applaud the sets and costumes. Thank you for joining me today. While the Act one party rang with great energy, the chords just before the brindisi felt notably rushed for comedic effect as the party turned their heads about almost eerily quickly. YANNICK NZET-SGUIN: What I can tell you is that The Hours will never have been performed on stage before when we do it. Subtle it may not be, but it manages to even outdo the Met's old Zeffirelli production in its sheer gaudiness. So . Verdis musical-dramatic ability to portray the individual in a marginalized relationship to society keeps this work a mainstay on the worlds stages. Violettas vulnerability and then her headstrong abandon come through with sterling clarity. Watching Sierras Violettas reluctant acquiescence to Luca Salsis Giorgio Germonts implacable demand that she sacrifice her happiness for the sake of his family was heartbreaking. Directed by Michael Mayer, this . And start Stephen, you start. Both are in strong form for Un d, felice, eterea, and the spark of romance is swiftly established. Perhaps the most impressive passage from the baritone was his final big one Di sprezzo degno s stesso rende, where his maximal voice forces were on full display as he delivered a tremendous scolding of Alfredo for his actions. MAESTRO DANIELE CALLEGARI: Acting with the voice. The opera, performed eight times from Oct. 25 to Nov. 19, 2022, will star Stephen Costello, Lucas Salsi, and Nadine Sierra. The vocal and emotional scope of the title character is enormousfrom her Act I show-stopper aria Sempre libera deggio to the haunting regret of Addio, del passato in Act III to the extended Act II confrontation with her lovers father, Germont. And so she's comfortable telling me everything, telling me every, every possible little nook and cranny that she would like, you know, can we, can we change this a little bit? How would you describe whats going on between them? CHRISTINE JONES: -- like a day of the dead. We start by establishing this wintery scene, and then the snow turns into petals, which takes us into spring, along with the music. And winter is coming back. This was most noticeable during Ah perch venni incauta. As she confronted Alfredo moments later, she ran from him, until he cornered her by the bed. Fathom Events is the home of cinematic experiences that offer high quality, affordable entertainment events broadcast to the big screen. By Logan Martell Photo: Ken Howard/Met Opera March 7, 2023, saw the second performance of the third cast in the Metropolitan Opera's run of Verdi's " La Traviata, " starring Angel Blue. document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); Enter your email address to follow this blog and receive notifications of new posts by email. There was restraint throughout the opening recitatives, the soprano holding back with soft colors until erupting on the Bb5 on O gioia and then the Ab5 on follie. But even then, those climaxes were brief, just a preview of what was to come. In these instances, the experience is immersive and, as with the opening aria, trance-like; even baritone Amartuvshin Enkhbat (more later), seemingly couldnt help but taper down his powerful baritone to join her with similarly gentle singing. Violetta, the heroine of Verdis La Traviata was a figure audiences could really relate to when Verdi created her in 1853. In a remarkable career spanning six decades in the theater, Giuseppe Verdi (18131901) composed 26 operas, at least half of which are at the core of todays repertoire. Click the AdBlock Plus button on your browser and select Disable on Observer.com. How do you describe the voice and the vocal skills required for this role? By the third act, it was clear how tremendous Sierra was in this role; her vocal and dramatic stamina are truly admirablemany a Violetta runs out of steam by the end. MAESTRO DANIELE CALLEGARI: Which is at the beginning, like you said, is, uh, the, the agility that, uh, is necessary, but at the same time, the voice goes really low. The final A5, starting as a thread-like piano was held with all the force Jaho could muster, even crescendoing at its peak as she released it and seemingly, all hope for more life. Given all the intensity that Jaho had mustered throughout the ensuing duet, it would not have been surprising to find that she had peaked in intensity for this big climax. RENE FLEMING: Much more dramatic in the second act, yeah. As if to compensate Sierra has mastered freeze-framing. RENE FLEMING: And so, now, Im going to speak with our Conductor, Daniele Callegari. KELLI OHARA: There were women that really struggled. Underpinning all of this was Daniele Callegari vivid and thoughtful, which injected life and a sense of suspense to this classic. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. NADINE SIERRA: -- its, its bearable to get through. I mean, the ease that she has, that she brings to the role. If the sky is blue, love is in the air. And the third act, you need someone who is really able to acting. While he managed the interpolated high C at the climax of the cabaletta O mio rimorso or high notes that he sung with Jaho quite well, more exposed ones, such as the A5 on croce delizia, sounded uncomfortable for the tenor. This production, much like Violetta herself, lives very much in the moments of greatest passion. STEPHEN COSTELLO: I mean, we, we talked about it a little backstage, its just watching her. The repetition of the arias main melody is marked dolcissimo, and while the baritone managed some truly delicate singing a il suo tetto si copr, the crescendo right up to the climax was even more intense and forceful. As Alfredo meets his idol, Violetta, American tenor Stephen Costello appears somewhat stiff, presumably to convey the intimidated young mans trepidation. Any minor vocal glitches (of which there were very few in the whole night), were washed away in welcome tears for this reviewer during Sierras affecting and sensitive Addio, del passato.. And the interesting thing that I was thinking about today yesterday, as we were rehearsing is that we have to take on the roles of all three of the women, as, as we pass through these different places and time periods. Even when she crescendoed up to the key change into F major on destandomi allamor she receded back to the ethereal delicacy of A quellamor ch palpito. The score says forte as the dynamic marking, but Jahos was more of a mezzo piano in character with her voice only coming close to that Forte marking on the A5 on Croce delizia; and even then, it was tender in nature, in keeping with the overall musical texture of her interpretation. Venue. But as Alfredos singing continued, she grew more unsettled, her voice more agitated as she sang Oh amore. The tension was palpable and then suddenly she flung the glass across the stage in a shocking and exhilarating moment. It made it all the more touching when she finally seemed to shrug off her illness in her final moments. But first, Im joined once more by our Violetta, Nadine Sierra. World premiere: Teatro la Fenice, Venice, 1853. Following her scene with Germont Sr., Blues frantic parting with Alfredo was breathtaking as her inner conflict drew out her phrases until her climactic cries of amami, Alfredo! This glorious moment was fittingly met with a fade to sunset lighting as their time together drew to a similar close. RENE FLEMING: So The Mets Live in HD Series is made possible thanks to its founding sponsor, the Neubauer Family Foundation. A lot of sopranos milk that fermata (many to rousing effect) by imbuing it with a crescendo or diminuendo into the Andante Cantabile. RENE FLEMING: Its going to be such an exciting experience and to see how the audience responds to this piece. Maestro Daniele Callegari is ready to go to the pit. But the beauty of it is precisely that it demands the audience to be an active participant, to truly listen. Tenors Stephen Costello, Ismael Jordi (in his Met debut), and Dmytro Popov share the role of her self-centered lover Alfredo, alongside baritones Luca Salsi, Amartuvshin Enkhbat (another debut), and Artur Rucinski as his disapproving father. And yet, somehow, there was something so raw, visceral, and human about that Amami Alfredo that instead of exceeding everything that had come before it, built on it, creating a fitting coda to this most breathtaking of dramatic scenes in opera. Below are steps you can take in order to whitelist Observer.com on your browser: Click the AdBlock button on your browser and select Don't run on pages on this domain. STEPHEN COSTELLO: And youre singing about all these wonderful things that youve done. That you could establish the stories and then gradually begin to blur the lines and all of that is possible on the operatic stage and through music, through harmony, through notation. But they are destined to be together, if only for a time. Violetta lies dead, but as the overture sighs around her, she rises up, a dead woman walking, leaves her bed empty, and disappears with a little smile upstage, before the party scene bursts forth and the story begins. NADINE SIERRA: -- its not worth it. At the cadenza, he added a violent accent on each of the two high Gs on Ma, ma sea al fin that shook the audience with its fullness of sound and barnstorming power; you could feel the shock of those two notes in the space, almost as if it was something that hadnt been heard in ages. But in the beginning and in, in that period, you know? Violettas strength lies in how she insists on her dignity in the face of Giorgio Germonts hypocritical bourgeois morality. I mean, they, they just hear you, they feel you, and they, they just play so well all the time. (As a side-note, given Jahos own incredible immersion in the character shes not playing Violetta, she is Violetta this benefits Michael Mayers other-wise painful production which seems to recede into being a mere backdrop for her world; Jaho maintained many of the previous stage directions but found the truthfulness in them, giving them spontaneity and keeping the viewer glued to her every move and action; conversely, in the few moments when Jaho wasnt onstage, especially during moments during the parties, where her absence serves as a reminder of the shortcomings of Mayers vision). STAGE MANAGER: Maestro, to the pit, please. SUSAN HILFERTY: So it begins with Violetta in her bed, and really at a moment where we realize that she's dying. His opening lines as he stepped out of the party crowd carried with a firm tone that suggested a slightly more mature Alfredo; this quality lent itself nicely to the protective way he entreats for Violettas health and happiness. From the overture, were presented with a tableau of the moment following Violettas death before she rises from the bed and walks among them as a ghost. Weve been rehearsing The Hours quite a bit this past week. My colleagues are different of me, and, uh, we have, uh, different sensibilities, so . NADINE SIERRA: But also, to make sure that vocally, you know how it is, just to have that laser focus, be sure I get all of the notes I need , NADINE SIERRA: -- in my breath as well . Considering the Mets cavernous size, its refreshing to hear an artist unafraid of singing so soft that you might not hear her. 2022-23 Season 2023-24 Season Summer 2023 In Cinemas Concerts and Tours At Home On Demand Radio Television Events Tickets 2023 ABT Tickets On Demand Visit Health and Safety Requirements Getting Here Accessibility Dining at the Met Tours What to Expect Exhibitions Discover Videos After Germonts aggressive entrance, Jaho stood her ground, responding with similar implacability on Donna son io, signore, ed in mia casa. She then strode away confidently, stopping when he uttered the gentle Quai modi. It set up a visible struggle for the soprano throughout the duet where her intensity came with increasing desperation. RENE FLEMING: The story is so extraordinary. Rather than focus on her infirmity, this new starting point makes a scenic argument for the triumph of life over death while still recognizing the latters presence and impact. RENE FLEMING: A little testosterone there. MAESTRO DANIELE CALLEGARI: Exactly, exactly. For many, Mongolian baritone Amartuvshin Enkhbat might have been the true standout of the night. It is more dramatic. Then, I understand that shes a good girl. Can you imagine? You just hung on every note. DONALD PALUMBO: So I mean, the trick is to sound, uh, spontaneous and excited to be at this party, but yet, maintain all the rigidity and the musical discipline to really execute a very delicate score, quite frankly. In Salsis hands, this Germont is more straightforwardly hypocritical, more calculating, and as unsympathetic as possible. Get personalized recommendations, and learn where to watch across hundreds of streaming providers. MET Opera - La Traviata 2022 Release Date: 17 December 2022 This movie is from our archive and is not currently screening. Violettas music is as complicated as her life, ranging from lightness to dark and calling for a soprano who possesses great vocal and dramatic flexibility. The title role of the fallen woman has captured the imaginations of audiences and performers alike with its inexhaustible vocal and dramatic possibilitiesand challenges. Michael Mayers vibrant production also features three maestros: Daniele Callegari, Marco Armiliato, and Nicola Luisotti. The opera returns in January with Ermonela Jaho, Ismael Jordi and Amartuvshin Enkhbat, and again in March with Angel Blue, Dmytro Popov and Artur Ruciski. Even the same bed is seen in the same position, with Alfredo and Violetta awakening in their country home. RENE FLEMING: So how about, Alfredo in terms of his relationship with Violetta? The Met's Live in HD Series is made possible thanks to its founding sponsor, the Neubauer Family Foundation. And the idea of cycles , CHRISTINE JONES: -- and that we could use that as a shape for the different acts, and how we move through time. Her physical beauty, grace and charm added realism to the rle of a Courtisan, enhanced by the luxurious outfits she was given to wear in all three acts. In contrast with Ismael Jordis more happy-go-lucky vibe as Alfredo, it created a unique tension in which the two were mismatched and yet complimentary, especially as she goaded and taunted him during those opening exchanges. Heres a preview. Metropolitan Opera 242K subscribers Subscribe 313 Share 14K views 5 months ago Nadine Sierra, Stephen Costello, and the Met Chorus sing the Act I drinking song in the final dress rehearsal.. To add to the excitement, conductor Daniele Callegari drew sounds from the Met orchestra that were equally thrilling. Minutes later, Salsis Germont was crushed when his son had the same reaction to the fathers embrace. You know, having her in, in, in the pit and having just having that orchestra alone. If its a fairy tale, however, its also a ghost story.. We get it: you like to have control of your own internet experience. STEPHEN COSTELLO: A little self-conscious. STEPHEN COSTELLO: And thats the only thing that really matters. That sense of loss led gracefully into Dite alla giovine.. So we imagine that this opera was as if Violetta's life and her experiences over the past year were flashing before her eyes. Mayers production has always looked a little more like Disneys. He, he born in Roncole, and (indiscernible) born in (indiscernible). More private moments were explored with great affection, as heard from the tragic heights of the illness motif in Acts one and three or the utter weight and authority which introduces Giorgio Germont. RENE FLEMING: Oh right, right, right. WOMAN 4: -- were the advocates for everyones potential. LUCA SALSI: I, I think its exactly the same relationship that you can have today with your son. STEPHEN COSTELLO: Oh its, its, uh, nerve-wracking because every time we have one of these kiss scenes, I see her look up and, and so, I feel a little, uh, uh, embarrassed. So, every Violetta, marked by death like we all are, is to be a ghost, but she also has to be fully alive. Stephen Costello felt a little off in this role and this production. The final Se una pudica vergine was sung with the utmost tenderness, the pianissimo sound not quite as soft as previous renditions and even more plaintive in its tone. From that point on, each passage grew in intensity, as if Violetta, coming to terms with her coming death, was willing to fight one last time to survive. But then, in the second act, you need the a voice, let me say, um, real soprano, real soprano, lyrical, where its just more espressivo, or the entire life of the opera. Gran Dio! leading to some more fine chemistry and vocalization with Jordi. This live cinema transmission is part of the Mets award-winning Live in HD series, bringing opera to movie theaters across the globe. Fascinating interpretation. WOMAN 5: Were the naysayers to anyone who says this planet cant be saved. But from the second scene of Act two onward the tenor was in far stronger form, his voice finding strength throughout Ogni suo aver tal femmina before he delivered one of the most memorable interpretations of Ah, s che feci! We spoke recently with two of Michaels long-time collaborators, set designer Christine Jones and costume designer Susan Hilferty in Christines downtown studio about their design approach to this timeless drama. And shes an Italian soprano. STEPHEN COSTELLO: Its very frustrating, because you, you in the end, obviously we know the end. Book Met Opera 2022-23: La Traviata sessions at a Palace Cinema location near you. Verdi's La Traviata survived a notoriously unsuccessful opening night to become one of the best-loved operas in the repertoire. And OperaWire came about as a desire to take in as much of it and allow the passionate fan base access to everything this wondrous art form has to offer on a daily basis. READ: Fleming throw to take (Violetta at the Met). If youre able to make a donation to The Met, please call us at 1-800-MET-OPERA or visit us at METOpera.org/membership to make a contribution. RENE FLEMING: Super cantabile. As Giorgio, Italian baritone Luca Salsi pours forth with vocal power with seemingly little physical effort, allowing him to give a very naturalistic acting performance. DONALD PALUMBO: -- its very interesting that we have to take on, in a way, the character of all three of you amazing women in this opera. Were just a few weeks away from the premiere and the excitement in the rehearsal room is palpable. Digital support is provided by Bloomberg Philanthropies. Im a very young guy, but I feel like I know more about life than I really do. READ: Fleming PSA / Fundraising / Throw to HD season preview. DumassLa Dame aux Camliaswas a meditation on the authors youthful affair with the celebrated prostitute Marie Duplessis, known as a sophisticated and well-read woman whose charms and tact far surpassed her station. The vocal and emotional scope of the title character is enormousfrom her Act I show-stopper aria Sempre libera deggio to the haunting regret of Addio, del passato in Act III to the extended Act II confrontation with her lovers father, Germont. DONALD PALUMBO: Yeah, yeah, yeah, yeah, yeah. She was a smaller woman of absolute charm, and she brought a whole different aspect to this role. Francesco Maria Piave (181076) was Verdis librettist during his productive middle period and also worked with him onErnani,Macbeth,Rigoletto, andLa Forza del Destino, among others. Oh boy. The most you'll pay for La Traviata tickets is $503.00, but many productions often have cheap La Traviata tickets listed for as low as $59.00 a ticket. Opera Columbus will perform "La Traviata" at 6 and 8:30 p.m. Friday and Saturday and 3 and 6 p.m. Sundayat the Residence Inn Columbus Downtown, 36 E. Gay St. Tickets cost $60 to . STEPHEN COSTELLO: -- completely engaged with you the entire time, so I, I, I love it. After Alfredo throws the money at her, a lot of sopranos are rather demonstrative of how upset and hurt, emphasizing the tears we cant hear. : ','}}, Find The Metropolitan Opera on Facebook (opens new window), Find The Metropolitan Opera on Twitter (opens new window), Find The Metropolitan Opera on Instagram (opens new window). She held firm to her more gentle vocal approach throughout, and even with the massive vocal forces around her, she was always audible and clear above the ensemble. RENE FLEMING: Right. For Sierras fans, who turned out in force for this performance, undoubtedly little of this mattered. With this more aggressive vocal approach and more active physicality, it almost felt like an externalization of the inner battle, Violetta fighting for her freedom with every note. Today, we have such a soprano in Nadine Sierra, operas rising star, who will take your breath away with her dazzling and fearless vocalism. PHELIM MCDERMOTT: And all those different stories have a relationship of course to Virginia and to the book. And just like the mood change from the lights, Jahos angelic pianissimo brought us into another musical world, one of peace, understanding, forgiveness, and love (this was one of many instances where Jahos choices both physically and musically improved the production). His voice took on a more gentle quality on Quai modi but even then the firmness remained. Salsi also works harmoniously with Costello, the two practically sharing the emotional shorthand of a real father and son. His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review. Violetta lies dead, but as the overture sighs around her, she rises up, a dead woman walking, leaves her bed empty, and disappears with a little smile upstage, before the party scene bursts forth and the story begins. READ: Fleming throw to tape (Making The Hours). It would seem that party host Flora is very sympathetic to cultural appropriation, and so has replaced the usual dancers with sleek elves and fairies. I saw Don Carlo the other night, and I was absolutely bowled over by, all of those melodies and motifs. MIKE BLOOMBERG: Well be right there with you. Met Opera - La Traviata. : ','}}, Find The Metropolitan Opera on Facebook (opens new window), Find The Metropolitan Opera on Twitter (opens new window), Find The Metropolitan Opera on Instagram (opens new window). The sopranos phrasing was particularly effective. SUSAN HILFERTY: Kevin Adams, the lighting designer, immediately responded to this idea, how spring leads to summer, fall, and then winter. Over the years, there have been many other sopranos too, who have made an indelible mark with this role. Violetta dies again and again, every opening night; shes dying from the second she opens her mouth. a well-loved turn in Parma late last year. The Met cinema season is in full swing with eight more movie theater transmissions coming up. And then, ever so slowly, she seemed to regain her consciousness and took in the room around her. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. An enormous round skylight overhead gives an indication of the weather, a theme that is also picked up in the costumes and lighting. Singing downstage, Sierra sings an individualised coloratura at the end of Ah, fors lui. It is no exaggeration to say that you could have heard a pin drop at the Met, as the full house held their breath in rapt attention. See what's on. While Jordis performance on its own had its ups and downs, one thing that was notable was that the two singers were quite comfortable vocally and physically with one another and this scene was the first indication of this dynamic. Nothing can compare to the visceral thrill of hearing great voices soar over an orchestra. One night after leading Fedora, conductor Marco Armiliato was back at it with La Traviata, an opera he has led over 40 times with the company. Digital support is provided by Bloomberg Philanthropies. Production: Michael Mayer. Met Opera Free Video Clips A trio of tantalizing sopranosNadine Sierra, Ermonela Jaho, and Angel Blueportray the tragic courtesan Violetta in Verdi's timeless classic. I think youre there, I think youre there. IMDb is the world's most popular and authoritative source for movie, TV and celebrity content. Amazing, I was in tears with Nadine Sierra as she sang Addio, del passato. RENE FLEMING: And rest up for the next act. CHRISTINE JONES: For the set designer, the lighting is the atmosphere, and when I first walk into a theater and see a set on stage for the first time, it's often under work light. When many aspects of their lives are untenable. This stillness was electrifying because of how alive it was and it was impossible to look away, even if there was other actions happening around her. Sierra wasnt alone in creating sparks, however, as Stephen Costellos Alfredo and Luca Salsis Giorgio Germont burned just as brightly. Hello, Maestro. CHRISTINE JONES: When the audience enters the opera house, there is the image of a flower hovering in the air, and that is inspired by the title of the book, La Dame aux Camlias, which is the lady of camellias, that the opera is based on. He's painting spring, he's painting summer, he's painting winter, and he's giving it the soul and the spirit of this idea of a woman who is living her last few breaths. But Jaho didnt do any of that. Is this her spirit escaping, gone to be always free at last? Most singers at the Met sing to the audience with the aim of having the beauty of their sounds wash over and overwhelm the audience with emotion. The colorful Baroque staging enriched the presentation and matched the ostentatious nature of the wealthy upper classes of thevperiod in History the opera depicts. So its, its never dull here, with the chorus. RENE FLEMING: Its just a super positive production for you. creating those different worlds. For some, especially vocal purists, it might be too much, but it was consistent with the rawness and truthfulness of the performance throughout the night. He also holds a dual bachelors from Hofstra University in Film Production and Journalism. I love to sing him and I love his music, and I already feel it inside. The latter approach added fullness to his sound, but when he tried to mix the two approaches across a vocal line, it was apparent he was trying to negotiate the passage to suit him rather than having his voice seamlessly flow through it. in her career as Violetta in Verdis La Traviata (the fact that she debuted in 2008 and this is just her fourth production with the company, despite being a Long Island resident, is something). The Metropolitan Opera's first season performance of Verdi's La traviata caught fire from the moment Nadine Sierra appeared on stage as the glamorous Violetta Valery. Performances that transcend time at musics most legendary opera houses and concert halls. For over 40 years, supporting the moments that uplift our lives, echo across generations and become forever part of our world. And there's a moment of fear and trepidation. Well be back after a break. 2022-23 season. Her initial vocal lines Flora, amici, la notte che resta, imbued with a darker resonance showcased a more mature and even guarded Violetta from the outset, furthering our notion of her prominence in this social setting. We made this party almost be like a . Three captivating sopranos with many previous triumphs to their namesNadine Sierra, Ermonela Jaho, and Angel Bluestar as the self-sacrificing courtesan Violetta, one of operas ultimate heroines. Ermonela Jaho Bares Her Soul in Mesmerizing Turn. There are four more performances of this cast of La Traviata and I would highly recommend that everyone catch Jaho in what will likely be one of her finest Met Opera turns ever. Were doing Rigoletto right now. NADINE SIERRA: Well, everything has been a progression up until now. Eve Gigliotti, as Annina, turned in another of her finely crafted characterizations. From the outset, as she awakened to the scene of her death during the prelude, you were pulled into a character trying to remember, trying to understand, hopelessly trying to connect with the frozen figures in front of her. Tenor Stephen Costello is her self- centered lover Alfredo, alongside baritone Luca Salsi as his disapproving father, and Maestro Daniele Callegari on the podium. RENE FLEMING: Different party, yeah, thats very different. The pathos . With each new guest conductor, how does the work for the chorus change? Verdi's La Traviata returns to the Metropolitan Opera with three casts. NADINE SIERRA: Yeah, I mean, the tessitura is different. It gave the impression of a man who, despite bearing his soul, was still implacable and committed to his perspective. From there, she sat at the desk, her body language delivering all the pain she was feeling, even while turned away. She first sang this role here in 1942 and was beloved by audiences for the passion she brought to the most tragic heroines, especially Violetta. NADINE SIERRA: -- her life is kind of sort of, uh, being destroyed right before her eyes. There were multiple instances of iPhone timers going off, people recording the performance, and someones ringtone even sounding from the upper levels during Act threes Parigi, o cara. The artists proved that over any obstacle, planned or otherwise, art and love prevail. I mean, the fact that, Michael Cunningham took Virginia Woolf's work, Mrs. Dalloway, and put it together into this story, which spans three different periods. After laying out his case, Violetta concedes that she can give up Alfredo for a bit. And this was a new idea for tragic opera. He is as easy on the eye as he is to the ear. This performance set the benchmark high. Given that this was his first performance and what was heard during that second half, it is likely that Jordi is going to find his groove over the course of the final four performances of the run. Another tremendous success of the evening was Artur Rucinski as Giorgio Germont. (Credit: Marty Sohl/ Metropolitan Opera) On Jan. 10, 2020 Verdi's "La Traviata" returned to the stage in Michael Mayer's production. As much as La Traviata needs its heroine to envelop us with pathos, to me, the opera often lives and dies on Giorgio Germont. March 7, 2023, saw the second performance of the third cast in the Metropolitan Operas run of Verdis La Traviata, starring Angel Blue. You have the whole range. If its a fairy tale, however, its also a ghost story.. I dont want to manufacture it. Soprano Nadine Sierra stars as the self-sacrificing courtesan Violettaone of opera's ultimate heroinesin Michael Mayer's vibrant production of Verdi's beloved tragedy. 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